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As Good as Your Word: Promises made to be kept

November 28, 2017

Promises and commitments are the outward signs of mutual trust between parties, a shared understanding, and a bargain to be upheld at each end. A contract, if you will, whether written and signed, or verbal and committed over a handshake, to terms large and detailed involving the exchange of vast sums of money, or as simple as a plan to meet for dinner a few days hence. Or a proposal of marriage with a smiling acceptance on the spot, of all that marriage entails.

We cannot know what the outcomes of such contracts can be until they have been made and the specified time elapsed, and the fulfillments honored or not. But if there is no trust at the outset, no sense of honor extended from the very first negotiations, that all parties involved can be “as good as their word,” such contracts are likely to fail.

In 1914, Shackleton and Aeneas Mackintosh had an agreement that the Scotsman would take charge of the ship Aurora and the Ross Sea Party to set up a line of depots from Cape Evans to the Beardmore Glacier in Antarctica. And since there could be no further communication once the Ross Sea and the Weddell Sea Parties were at sea, the commitment must hold through all risk and travail, over the span of a year, bound only by a sense of duty and honor.

Both Parties, as it turned out, ran into overwhelming circumstances that irrevocably altered their plans. Shipwreck in the Weddell ice took the Endurance before her time. The Aurora, carried away by the ice, left a small party marooned at Cape Evans with barely enough to sustain themselves, let alone carry out their mission, to lay those depots on which Shackleton’s life would depend. (For the rest of the story, see Chapter Eight in “When Your Life Depends on It.”)

Neither party could know the fate of the other. The Ross Sea men, at enormous personal sacrifice, working in the field for nearly a year to fulfill their part of the bargain, had only their own sense of honor to drive them. But they did what they said they were going to do.

They were as good as their word. Are we?

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Playwrights on Playwriting: Arthur Miller on “The Question of Intensity.”

November 24, 2017

“It matters not at all whether a modern play concern itself with a grocer or a president if the intensity of the hero’s commitment to his course is less than the maximum possible.

“It matters not at all whether the hero falls from a great height or a small one, whether he is highly conscious or only dimly aware of what is happening, whether his pride brings the fall or an unseen pattern written behind the clouds; if the intensity, the human passion to surpass his given bounds, the fanatic insistence upon his upon his self-conceived role—if these are not present there can only be an outline of tragedy but no living thing”

Arthur Miller quoted from “Playwrights on Playwriting: The Meaning and Making of Modern Drama from Ibsen to Ionesco” (Ed. Toby Cole, 1960)

Interview of Gus Tjgaard by Jean Bartlett

October 21, 2017

Born of Swedish parents in his father’s boatyard located on Washington State’s Decatur Island, one of the 172 named islands of the San Juan Archipelago, at the age of 13, Gustav Tjgaard was placed by his father aboard the five-masted American cargo schooner, The Vigilant. For the next five years Gustav served as ship’s boy between Bellingham, Washington and Guangzhou (Canton), China, under fearsome Captain Melberg. Gustav wrote about these days in his award-winning book, “Windjamming to China.” Pacificans know this author and illustrator by his anglicized name, Phil Carlson. Visit www.bartlettbiographies.com to read this interview.

Who’s on your team? More than you thought.

September 27, 2017

Who’s on your team? The question springs from a generality, an easily understood concept that in corporations, as in any organization made up of leaders and followers, the combined strength of the team in its members and its output is fundamental to the success of the project.

But in the specifics, we must all ask of ourselves, who IS on your team?

The team can be a military platoon, a corporate project endeavor, a legislative committee. . . . think of professional or collegiate sports, a condominium or a nonprofit board of directors, of academic research. . . . a family, a marriage. . . .

One way or another, like it or not, we are each of us members of a team. Most likely, a lot of teams. And the success of what we engage in together is inevitably bound up in how strong our commitment is to the project that we have—as a team—undertaken.

There are many examples in the annals of Antarctic exploration the reveal the strength of teamwork, where truly grand aspirations were adopted by the men in the field parties—often working under extreme privation and duress—were rewarded, in the end, by success.

That would be one of the reasons they call the years 1901-1916 the “heroic era” of Antarctic exploration.

Who’s in Charge? The Fundamentals of Leadership

September 12, 2017

The concept of “leadership” has a lot of currency these days, addressed in academic disciplines and institutes, and in countless corporate trainings and seminars. Regardless of the enterprise, there has to be some place in any management hierarchy that is indisputably the pinnacle, occupied by a person who is unquestionably recognized “the Boss.”

But that role is not necessarily one that any person can be molded to fill. Yes, there are techniques and characteristics that can be identified and reinforced, but there has to be something more, something that is inherent in a person, rather than a position.

In the canon of Antarctic exploration, there are those who envisioned, created, and completed the vast enterprises of these expeditions—Scott, Shackleton, Mawson, Amundsen, and others less well-known—who are taken for their leaders. Their names have achieved a justly warranted fame that outshines that of many of their subordinates, whose own signal accomplishments go mostly unheralded.

Who led the smaller, isolated field parties adrift in the vast Antarctic snowfields, many hundreds of miles from the relative security of the base huts? Lt. Michael Barne was (like almost everyone else in Discovery’s 1901-1904 complement) a total novice at exploring, but he led his handful of men out into the Barrier hinterlands twice, and brought them safely home with new discoveries. When Scott’s northern party were left to their own devices over the austral winter of 1912, it was Victor Campbell who provided a strong center around which his small field party coalesced and survived. It was Frank Wild who kept the marooned survivors of Endurance’s shipwreck alive in 1916 with a glimmer of hope that Shackleton would return to save them. On the other side of the continent, Ernest Joyce stepped into a role beyond his training when Aeneas Mackintosh was no longer strong enough to lead.

The exploration of Antarctica during the Heroic Era, and in every era afterwards, provides many more examples of those whose leadership was more a result of who they were, than of what they had learned.

Free Shakespeare in the Park: Hamlet’s Unmistakable Passion

September 12, 2017

San Francisco Free Shakespeare in the Park. You can’t go wrong with it. Every season a fresh production to make you glad you live in this generous city with a deep focus on the arts.

This year: Hamlet. A play I’d been familiar with (who isn’t?—it’s full of familiar quotes) since reading it first in college, but until last Sunday never seen. The words ring that much more clearly coming from the mouths of so many fine actors, Stephen Muterspaugh’s well-conceived production.

A true tragedy—one borne of the treacherous act of one man (Claudius, played by Jesse Caldwell) whose plot to slay his brother the king and marry his wife (Queen Gertrude, by Mary Ann Rodgers) has far-reaching, unanticipated consequences. The most brutal of these falls on Gertrude’s son, Hamlet (played with unmistakable passion by Nathaniel Andalis) whose descent–sometimes feigned, sometimes not–in to madness we share from the opening scenes.

Many of the scenes are truly moving. The play and the production revolve around the admirably configured Hamlet, the tormented, unable to consummate his revenge on his uncle, conflicted about how his own treacherous mother, wrapped in shrouds of indecision. No one is to be trusted, only the gallant Horatio. All others are fodder for plots arising from the secret corners of the many players’ minds.

The stage is of Elsinore’s castle, but one trick of SF Shakes’s outdoor productions is a long proscenium extending well out, to bring the actors right out into the audience.

Machinations and betrayals abound, culminating as in the best of the Bard’s tragedies, in a final scene the stage is littered with corpses. Only the king’s and queen’s truly deserving of this bitter end; the others, as always, accidents and mistakes. The fight scenes and the swordplay between Hamlet and Laertes (Sydney Schwindt) that brings them all down are extremely well choreographed, to the point that it certainly looked as though some real damage was done to the actors, until there remains only Horatio (Marissa Wanlass), tragically bereft of all that had been dear to her.

Free access, yes, and gratefully accepted. But productions this polished and mobile have a cost, so be prepared to bring some cash to fill the hats passed at the end of the show. As we are reminded, think of the cost of a movie, and think again to the cost of some other theatre you may have attended—say Hamilton—and bring what you can to keep these free productions coming, up and down the peninsula.

There are those who would withhold their accolades because a performance does not measure up to a preconceived and personal standard. This reviewer comes in fresh, sees what he sees, and comments thereon. And what I witnessed in the Presidio on September 10 truly merits your attention, as it does my enthusiastic commendation.

Through October 1, at the Presidio and then at McLaren Park
Website: http://www.sfshakes.org/programs/free-shakespeare-in-the-park/hamlet

Love’s Labour’s not Lost: Shimmering Wordplay at Marin Shakes’ Forest Meadows

September 7, 2017

We are told by Robert Currier, before the opening curtain, that “Love’s Labour’s Lost” is one of Shakespeare’s less frequently produced plays, given that it is one of the Bard’s earliest, and thus presumably one of his least well-accomplished.

This production gives the lie to that conceit. As much as anything, in this production, the play’s the thing. Shakespeare’s unending torrent of drollery, or misapplied latinisms and tumbling malaprops, his convoluted chains of logic and word upon word of wordplay, demand as much of the actors as the gestures and blocking, and even more of the audience to catch hold of and follow the verbal action. Think of the rapier-like back-and-forth of a ‘30s Cary Grant romance, with the witticisms spread around throughout the cast.

Each of the characters brings in a unique barbequing of the language, all done up with heroic glee and impeccable timing, thanks to the sure hand of director Rob Clare. This would be a place for hamming in the extreme, were it not for the extreme concentration to keep it all flowing. Imagine a train heavily freighted, with one car in the middle suddenly missing, and the two ends thus hopelessly adrift from each other.

As this is an ensemble comedy, to call attention to any one of the suite of talented actors is to do a disservice to all the others. Even so, one can hardly overlook Braedyn Youngberg’s over-the-top glitz as Don Armando, the subtle shrewdness of Amy Lizardo’s Costard, or the wholly underplayed bits by constable Dull (Daniel Rubio). Or Patrick Russel’s Biron, or Steve Price’s Holofernes, or. . . .but I digress.

The plot, as in many of the Bard’s comedies, makes so little rational sense that any attempt at explaining it is doomed to failure. Suffice to say that it involves four young university men who have sworn off the company of ladies for the span of four years, only to find their oaths challenged to the breaking point by four lovely damsels blessed with a biting wit.

And, there is music. It’s withheld until the very end, after a tragic moment draws the hilarity to a muted end, when the loveliest of three-part harmonies takes breathtaking flight. Other songs follow, and of course the four young couples plan to make their lives together—after the holding pattern of a full year’s abstinence.

The curtain falls on this light note; what happens next must be told in another play. You might have to wait a while for a chance to see this one done again, and even if you do you’ll be missing this hilariously entertaining production.

Through September 24, 2017
At Forest Meadows Amphitheatre, Dominican University, San Rafael CA
Marin Shakespeare: Box Office